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Testimonies abound in the Christian faith, but there is perhaps none more powerful than A Woman's Silent Testimony. In his new book, Dr. Daniel Tomlinson draws parallels from pregnancy and birth to spiritual truths in the Word of God. Conception is an allegory to new birth, fetal life represents our life on earth, and birth is analogous to our physical death and our ultimate new life in heaven with God. Just as Jesus died, was buried, and resurrected, we die, are buried, and resurrected, both in the physical and metaphorical senses. Even more compelling are the comparisons Dr. Tomlinson makes about pregnancy and familiar characters found in the Bible. Jonah died to his self, he was buried in the great fish, and he was resurrected to bring light to the Gentiles. Paul underwent many 'labor pains,' facing persecution from the Jews he spoke the gospel to, before seeing the birth of a new child—the church. While a birth is a joyous occasion, a mother will sometimes experience postpartum depression. This experience is mirrored in our lives as Christians. There are mountains and valleys, and when we are in the valleys, it's faith in God that will bring us back to the mountaintop. It's these and other parallels that give new meaning to pregnancy and A Woman's Silent Testimony. Dr. Tomlinson is the author of Birth Pangs: How Pregnancy Reveals God's Plan for the Ages. He has practiced obstetrics and gynecology since 1988 and has witnessed over five thousand births. He can be seen on his local CBS news affiliate as a medical expert. He lives with his wife, Julie, in Medford, Oregon.
"Silent Testimonies" amplifies the voices of the marginalized and overlooked. It shares stories of resilience from displaced people, oppressed communities, and environmental destruction. The book honors laborers, endangered cultures, and survivors, breaking the silence around hidden struggles. It explores non-verbal communication and invites readers to listen, fostering empathy and understanding.
How do I know it's God? is one of the most commonly asked questions of new and mature Christians alike, and the aim of God Conversations is to both equip and inspire the reader and show them that hearing the voice of the Spirit is accessible to everyone who chooses to follow Jesus. Most Christians know that God speaks, yet struggle with how to recognise his voice in their everyday lives. What does God's voice sound like? How do we know if what we're hearing is from God? Stories of God talking to his people abound throughout the Bible, but we usually only get the highlights. We read; "And God said to Joseph; 'Go to Egypt'," and then; "Mary and Joseph left for Egypt." We don't get a blow-by-blow description of how God spoke. We don't receive a detailed explanation of how they knew it was God, and we don't get to see what was going on inside their heads as they acted on what they'd heard. In God Conversations, international speaker and pastor Tania Harris shares insights from her own journey about hearing God's voice. You'll get to eavesdrop on some contemporary conversations with God in the light of his communication with the ancient characters of the Bible. Part memoir, part teaching, this unique and creative collection of stories will help you to recognise God's voice when he speaks and how to respond when you do.
Examines how colonial and postcolonial violence is understood and conceptualized through Indigenous storytelling. Through the study of Indigenous literary and artistic practices from Canada, Australia, New Zealand, and the United States, Julia V. Emberley examines the ways Indigenous storytelling discloses and repairs the traumatic impact of social violence in settler colonial nations. She focuses on Indigenous storytelling in a range of cultural practices, including novels, plays, performances, media reports, Internet museum exhibits, and graphic novels. In response to historical trauma such as that experienced at Indian residential schools, as well as present-day violence against Indigenous bodies and land, Indigenous storytellers make use of Indigenous spirituality and the sacred to inform an ethics of hospitality. They provide uncanny configurations of political and social kinships between people, between the past and the present, and between the animate and inanimate. This book introduces readers to cultural practices and theoretical texts concerned with bringing Indigenous epistemologies to the discussion of trauma and colonial violence.
First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.
Contributors to this edited collection use a psychoanalytic lens to examine the historical and political silencing of women as portrayed through Latin American art and literature.
There is a traditional view that women were absent from the field of dramatic production in the early modern period because of their exclusion from professional theatre. Women and Dramatic Production 1550-1700 challenges this view and breaks new ground in arguing that, far from writing in closeted retreat, a select number of women took an active part in directing and controlling dramatic self-representations. Examining texts from the mid-sixteenth century through to the end of the seventeenth, the chapters trace the development of a women-centred aesthetic in a variety of dramatic forms. Plays by noblewomen such as Mary Sidney, Elizabeth Cary, Mary Wroth, Rachel Fane and the women of the Cavendish family, form an alternative dramatic tradition centred on the household. The powerful directorial and performative roles played by queens in royal progresses and masques are explored as examples of women's dramatic production in the royal court. The book also highlights women's performances in alternative venues, such as the courtroom and the pulpit, arguing that the practices of martyrs like Margaret Clitherow or visionaries like Anna Trapnel call into question traditional definitions of theatre. The challenges faced by women who were admitted to the professional theatre companies after 1660 are explored in two chapters which deal with the plays of Katherine Philips, Elizabeth Polwhele, Aphra Behn, and Mary Pix, among others. By considering the theatrical dimensions of a wide range of early modern women's writing, this book reveals the breathtaking panorama of women's dramatic production and will be essential reading for students of women's writing and renaissance drama.
A breakthrough account of how women can overcome the social binds that block their success. As Kathleen Hall Jamieson explores society's interlaced traps and restrictions, she draws on hundreds of interviews with women from all walks of life to show the ways they can cut through the restrictions.
A collection of feminist essays steeped in “Solnit’s unapologetically observant and truth-speaking voice on toxic, violent masculinity” (The Los Angeles Review). In a timely and incisive follow-up to her national bestseller Men Explain Things to Me, Rebecca Solnit offers sharp commentary on women who refuse to be silenced, misogynistic violence, the fragile masculinity of the literary canon, the gender binary, the recent history of rape jokes, and much more. In characteristic style, “Solnit draw[s] anecdotes of female indignity or male aggression from history, social media, literature, popular culture, and the news . . . The main essay in the book is about the various ways that women are silenced, and Solnit focuses upon the power of storytelling—the way that who gets to speak, and about what, shapes how a society understands itself and what it expects from its members. The Mother of All Questions poses the thesis that telling women’s stories to the world will change the way that the world treats women, and it sets out to tell as many of those stories as possible” (The New Yorker). “There’s a new feminist revolution—open to people of all genders—brewing right now and Rebecca Solnit is one of its most powerful, not to mention beguiling, voices.”—Barbara Ehrenreich, New York Times–bestselling author of Natural Causes “Short, incisive essays that pack a powerful punch.” —Publishers Weekly “A keen and timely commentary on gender and feminism. Solnit’s voice is calm, clear, and unapologetic; each essay balances a warm wit with confident, thoughtful analysis, resulting in a collection that is as enjoyable and accessible as it is incisive.” —Booklist
Including topics as diverse as feminism and its relationship to the marketplace, plagiarism and copyright, silence and forgetting, and myth in a digital age, this book explores the role of rewriting within feminist literature from the 1970s onwards in relation to the theme of cultural memory.